Poetic work

Andrea Zanotti (1973) is a sculptor who graduated from the Academy of the Fine Arts of Brera in Milan.He experiments with the possible relationships , tensions and synergies between materials,
the environment and the light and space in which plastic forms materialize and expand thanks to the quality of the materials chosen and associated together as well as for their physical
specificity and originality.

In his recycled discarded objects new experiments and formal solutions are evoked in which can be found/read the sign and the prophecy of the destruction of the habitat which was already
announced by the conceptual artists of the 60s and 70s.

Zanotti writes: "the materials used in the work are clearly chosen in relation to the affinity with those occurred during the years of artistic training.

In my later works , as well as iron and other elements I introduced other materials, including wax which I had already used in the artistic foundry I had worked in for 6 years.

Wax fascinates me for its organic, transparent, protective capacity, and for its fragrance and essence of Zen.

After an early minimalist career , Zanotti started experimenting with "poor" materials and with these forms he proposes sustainable recycling, turning discarded objects and relics of the
post-technological society into works loaded with a primary energy that enable the alchemical process of scrapping. Some sculptures are characterized by the flow of natural wax that seems to
protect them not by nature but by man, iconising them and at the same time extrapolating them from reality.

They are forms that revolve around the theme of energy and water delivered at the time of eternity 'through the protection of natural and perfumed wax.

Marshall Mcluahan writes: 'I have great faith in the ability of recovery and faculty of human adaptation...I hope our planet transforms into a work of art - the new man, integrated in the
harmonious cosmic will become an organic form of art.'

In these words lies Zanotti's message that integrates squared shapes with the use of organic materials, natural because of their potential expressiveness, emphasizing not only the work
itself but the process of original hybridization between the cubic and geometric forms of minimalist echo with organic elements.

Jacqueline Ceresoli

2014 / 2013

Urban Reliefs

URBAN RELIEFS SERIES

In the series on canvas born since 2013, is clear how my attention is moving on the -sky prospectives- of urban vision and nature vision space. The wax forms are
slow process of materials layers, from geometric figures to geometric forms, the interaction between 2D picture space and 3D sculpture space find a balance through wax on canvas so called
"stratification" or "reliefs".

The issues addressed in this work is the delicate relationship between the urban and natural environment. The work has been
created thank to my personal interest for the architecture, the anthropology and the archeology, in search of our ancient origins; by posing in front of an
evolution of the human race rather weak, disrespectful of the only available environment that is home, the earth.

The serie of works on the urban reliefs is articulated in various cycles.

The various stages of the work, addresses several points of view of the research; the journey to discover some sites, the current
condition of the same, (often overwhelmed by the course of nature over time), the problem of the dating of many of them, until the loss of certain hazardous to human causes.

A series of works is devoted to the problem of obstruction of academic thought, which often tends to alter the actual historical dating of
archaeological sites, having difficulty in the detection of anti diluviane civilization evolved on our planet continue to disseminate erroneous historical data that cloud truth about our
origins.

The first cycle has developed by a group of works created during my stay in London focused on the personal training cities. Visionary spaces in
which the geometric shapes relate to each other and to the organic material that constitutes them to achieve a refined balance between urban and natural
spaces.

In the cycle “Could be the our future”, the devastating consequences of the current global geopolitical issues are considered that will lead us to
planetary conflicts with sadly predictable results: remains of cities, sites covered by vegetation, water, mud and debris, visions of civilizations submerged by our
stupidity.

2010

"ZNTNAG9XXX48XX800" 2010 -Installation-

The Working "ZNTNAG9XXX48XX800" is
formally structured in a totem (in honor of my father) who are eternally grateful for the experiences / travel from an early age has allowed me to "share", refining, so my effective training,
sensory, ethical, psychological, spiritual, thanks to a direct knowledge of reality, occurred through the journey. Travel as a source of psycho-physical and sensory experience of place, culture,
environment and space. The work is spread vertically through a series of containers / boxes which have the function of "medium of transport / travel, use it in everyday food such as fruit and
vegetables and the third world countries for a variety of materials. In the work they become a metaphor for containers of experiences, memories of the place, memories and feelings born during
different trips.

The boxes also replace the containers used personally while traveling in the transport of materials such as food, medicines and equipment necessary for mountain
trekking.

The sequence runs from the bottom up by determining the chronological order in which the experiences have been lived. The containers are waxed and protected by
organic material, heat of his nature, its physical properties that characterize its scent, creating a dejavou, with the places visited, routes, rich colors and scents. The experience not only
physical but also mental, sensory perception.

The colored adhesive tapes contain written matched the name of particular places visited, associated year in which the experience took place .. The color shows the
stimulus metaphorically transposed sensory perception of the place, each box has an inscription of one color, mail written on a sticker / transparent, similar to those used for the expeditions in
which you specify the destination of the goods.

The structure consists of three beams, whose vertical black oil determines the performance space / time occurred by moving means of transport fuel, the two
horizontal red one before, and travel related to the energy of a blue akin to the spiritual aspect of the experience.

"In 2025 the Earth will house about 8 billion people, whereas today the planet is inhabited by 6.5 billion people, according to
estimates by the UN, nations will be more difficult than North African, Middle Eastern and Asian West which will have 1.8 billion people with absolute water scarcity, over two-thirds of the world
population at risk of water shortage.

The World Health Organization (WHO) states below the threshold of 50 liters of water per day you can already speak of suffering for lack of water: in fact 40% of the
human population (2.5 billion individuals ) live in hygienic conditions especially impossible for lack of water. Water consumption in African countries vary on average between 12 and 50 liters
per capita per day, those in Europe between 170 and 250 liters in the United States reaches 700 liters. The UN itself stated that on Earth there is enough water for everyone, but only if it is
properly managed. "

-L 'installation is based on an analysis of the problem's global water resources management, water as a primary source of life and common good of which "all" we
should make use of it, is long since become a valuable asset that most elite third world countries have free access.

The work "2025 Water Dreaming" is a reflection on the matter.

The work encompasses a dream vision, a dream that could become, shared a dream with open eyes, a hope of so many persons whose primary asset is a loss already.
Twelve containers of colored glass determine the pace of growth ... .. more and more water ... ... .. a dream. ... Continued. water in growing quantities, clockwise increases the amount, up to
completely fill the container.

The 4 2 blue and 2 red neon determine the dreamlike work ... the work is detached from the earth floating in space ... in the mind, in our
consciousness.

The stainless steel plate located centrally to work the glass containers are reflected by creating the illusion that the amount of water is doubled, as in dreams and
time does not exist, the space is altered, making the conscious awakening of bitterness real of everyday life today .-

"IN MY MEMORY " is a second job that I have developed around the theme of sacred / profane, faith and consumerism, the work is divided into a totem consists of
three solid, and gas concrete blocks, in wax, stacked vertically. At the base, the first black, which identifies the oil factor on which our society rests, is linked inseparably to the red,
central fire, matter, blood, sacrifice already underway, Finally, the third and final solid blue, akin to the spirit, the redemption, identifying the final state, the last step that probably will
not get the hoped-for salvation sought, but unfortunately no means certain.

In the present work is a clear reference to the colors of "constructivism" as a continuation, not return, but closely linked with the history, when the vanguard of
the 900 in the 2010.

The continuity highlights the importance of memory, the ascetic aspect of constructivism and minimalism of the formal structure of state-interest for the two
artistic movements.

The book smells, lives, stimulates the perception of our senses not only through its physicality but also with the olfactory perception of the work, history, in the
present.

The work "Last Supper" is structured with 13 crystal glasses waxed, overhead, placed in a circular fashion on a barrel of fuel. The work aims to encourage reflection
on the current energy problems inherent in the use of oil as a primary source.

The crystal elements are covered with beeswax, their "stems" Red / Blue, alternating places clockwise based on the metal frame, blue and red also imply an
indissoluble unity between sacred and profane , metaphorically linking the act of the Last Supper of Christ with the twelve apostles, with what is becoming our last dinner with oil, an energy
resource in the terminal phase.

The alternating red and blue, passion, matter, blood, energy, life alternate with the spirit, faith and sacrifice, yet only one indispensable "element", also
"sacred", this time embodied our planet earth.